CD Reviews

Clooney's Superb, but That Orchestra....

Joan Crawford | 11/27/2003

(4 out of 5 stars)

"All ratings are subjective, but this one more than most: If you're a Clooney fan, this is definitely 4 or 5 star material. If you're not, or if you lack a musical sense of humor, this might rate lower for you.First, the good news. Clooney, as always, is spectacular and sings with wit and verve. A few of these songs aren't out of the top drawer, but who cares? Most of us would listen to her sing the Des Moines phone directory, given half a chance (and that isn't a very interesting phone directory).However, what's going on under the voice is of mixed quality. There are a few really good arrangements, "The Man That Got Away" in particular (done with a string/woodwind orchestra and an english horn instead of the usual trombone on the opening vamp--restrained and tasteful, a good match for Clooney's vocal style); but many of the album's arrangements run from decidedly odd to downright bizarre. "A Good Man is Hard to Find" and "Baby, the Ball is Over" land in the former category: both are best described as '60s swing-goes-ragtime, especially as the second song seems to be a self-consciously "hip" redo of the classic "After the Ball" that ends up sounding more like Bobby Darin than Clooney. More whimsical is "Just One of Those Things" which every now and then shifts into waltz time or tries to imitate a calliope. "Black Coffee" opens with a cello solo that sounds as if the arranger was trying to transcribe a cadenza from the Dvorak Cello Concerto.And then there's the supreme mis-step: "Miss Otis Regrets," the one number in which the arrangement hinders Clooney's vocal. It mixes a country guitar solo with light swing, and the song can't seem to make up its mind whether it's hick or sophisticate. Clooney's vocal never manages to bridge this and sounds downright awkward: the dry wit needed to sell the joke here simply isn't present. The one saving grace is the delightfully tacky rimshot after the line "...and shot her lover down." Now, if you've got a sense of humor about your music and don't take your "taste" too seriously, this can make for a rather fun half hour. And for the Clooney fan--well, why wouldn't you want another album? If you don't fit into these categories, you might want to consider something else. For the rest of us, this is a lot fun."

This is the best! Truly uplifting!

Joan Crawford | Lansing, MI USA | 01/01/2004

(5 out of 5 stars)

"Thanks For Nothing was Rosemary Clooney's last album before her mental breakdown and her only album recorded specifically for Frank Sinatra's Reprise label. This album is not only a compelling glimpse of Rosemary Clooney during an interesting and troubled time in her life, but also a great companion to her Love album and a fun listen!Thanks for Nothing differs in tone from Love. Where Love was romantic, sentimental, and basically suffered from the "poor me" syndrome, Thanks for Nothing completely puts the blame on the person in a relationship who made the mistake. It is truly the smarter album overall, because when a person is unfaithful you should never blame yourself. Perhaps this is why Thanks for Nothing is such an uplifting album. It always gives me strength in times when I am sad. If I play Love or one of Frank Sinatra's overrated sad concept albums like Where are You, that will totally depress me and make me want to end my life. No kidding, that is sad music and it makes you feel awful about yourself - bacause it puts the blame on yourself for the failings of a relationship. Personally, that is not what I want to hear when a man is out cheating on me and treating me bad. I would much rather gain strength from an album like Thanks for Nothing. This album is fun for many reasons. It never drowns in its own sorrow. There are a couple touching ballads, but they seem appropriate and never depress. The swinging big band sound and occasional humor help to lighten the mood and never fail to make me smile. The few country songs are true gems..Rosie sings like Patsy Cline at her best and the songs are surprisingly empowering. Best tracks? The haunting Thanks for Nothing, The Man that Got Away, and the swinging A Good Man is Hard to Find.The perfect album to put on during a party and play Monopoly to (I learned this over Christmas) and it won't depress your friends! There's nothing like a bunch of sappy songs to spoil a party, but you won't find that here. Bitter, bitchy, and totally self-appreciating, Thanks For Nothing is for those who have been in a breakup but know they were not to blame for it."

Love me some Rosemary

Anthea E. Herbert | Antigua and Barbuda | 09/26/2005

(5 out of 5 stars)

"That thing started when i was really young. When i found out how the turn-table really worked, I found some old dusty records and started playing them. To this day, 18 years later, i still have every song in head. The one that really stands out though is Thanks for Nothing (At All) by Rosemary Clooney. This is definitely a good bye y'all."

Clooney on the verge of a breakdown is still tops!

Paul A. Tassone | Glenwood, NSW , Australia | 04/20/2005

(3 out of 5 stars)

"Rosemary Clooney's only complete solo album recorded during her brief 1960's tenure with Frank Sinatra's Reprise label was also her last solo album prior to her complete emotional breakdown in 1968. Though this was recorded some 4 years prior to that, the tell-tale signs of what lay ahead can be heard on this album. And, that's one of the reasons that it remains fascinating.

Clooney was always a fine artist and singer, someone who took a no-nonsense approach to her singing and was loved for it. At her vocal best, she was a strong, womanly communicator with a large palette to draw from, someone who could sing practically anything. She was a true legend and survivor.

This album is probably one of her lesser efforts but still has its moments. The highlights for me are the title track, swinging performances of "Rules Of The Road" and "All Alone", and a sidestep into the country genre with "Hello Faithless". On all these, Rosie is clear eyed and completely herself. At other times, though, she seems to be on auto pilot and could be any other girl singer of the era which makes for unsettling listening. This is especially the case of "A Good Man Is Hard To Find" which on paper should be a fun song for Rosie but in reality is the nadir of this set with a raw, strident vocal and dated 1960's arrangement. It features a faceless kind of singing where the Clooney personality and twinkle in the eye are nowhere to be heard. This would mar most of her remaining recordings of the 1960's but fortunately disappeared once she made a complete recovery from the brink of despair.

In all, this is an unusual album that seems to bring too many styles together with limited results. However, it shows the triumph of an artist on the downward spiral who was still able to rise above it all when given the right material and backing."